A Quote by Lucian Freud

I've always wanted to create drama in my pictures, which is why I paint people. It's people who have brought drama to pictures from the beginning. The simplest human gestures tell stories.
I wanted to paint pictures of people. I thought, "Why bother doing anything else. Everything else is a waste of time. I want to tell stories about people and their feelings and emotions."
I'm a fan first and foremost. I get caught up in the drama, the emotion of what is happening, whether it's a boxing match, an MMA fight, a kickboxing contest, or a WWE matchup. I want to tell the story and paint more pictures.
For all the talk of my pictures being narratives or that they're about storytelling, there's really very little actually happening in the pictures. One of the few things I always tell people in my pictures is that I want less - give me something less.
The technology keeps moving forward, which makes it easier for the artists to tell their stories and paint the pictures they want.
When I was at drama school, people weren't taking pictures of themselves every five minutes. So I didn't realise how I looked. It was only when people started taking pictures of themselves that I looked at myself and thought: 'Oh my God, I look really miserable.' Even when I'm happy I look sad.
People don't care how you feel. You need to paint pictures, you need to tell stories. That's what people want. They want to be entertained. Then all of the other stuff kind of filters across as part of the whole thing.
I was not out to paint beautiful pictures; even painting good pictures was not important to me. I wanted only to help the truth burst forth.
Evidently one cannot look for long at the Last Supper without ceasing to study it as a composition, and beginning to speak of it as a drama. It is the most literary of all great pictures, one of the few of which the effect may largely be conveyed - can even be enhanced - by description.
I certainly knew from an early age... how to tell stories; how to create pictures in other people's heads.
In PhD, my topic was Stage Techniques in Sanskrit Drama - theory and practice. I wanted to combine my drama training with Sanskrit drama, which has a very rich history in literature.
Drama is hate. Drama is pushing your pain onto others. Drama is destruction. Some take pleasure in creating drama while others make excuses to stay stuck in drama. I choose not to step into a web of drama that I can't get out of.
I cannot say why I wanted to paint. The only answer is in the pictures themselves.
All I know for sure is that dreams are the pictures of states wanting to turn into processes. Dreams are maps of the beginning of an otherwise unchartered trip into the unknown. They are pictures of the unknown which appear in many channels. Because process work is body-oriented, I put a stress upon feelings, but dreams are not pictures of just feelings; they are pictures of the way the unknown is showing itself in a given moment.
People think comedians don't do drama. Comics are drama. And what is drama, as opposed to comedy? It's all the same to me.
Let me tell you, you can paint pictures and get people indicted for just about anything.
I think all creative people are operating from the fear that, of the best of what they did, will anybody remember it? Will anybody tell stories about them? Will anybody keep those pictures on the mantle long after they are gone? It's why people write stories. It's peoples' grave markers.
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